#Columbia Symphony Orchestra

[garadinervi]

Alex Steinweiss, cover for 'Eugene Ormandy conducting The Philadelphia Orchestra / Fritz Reiner conducting Columbia Symphony Orchestra, Oscar Levant (piano), Debussy: Prélude à l'après-midi d'un faune; Dukas: L'apprenti sorcier; Honegger: Concertino for Piano and Orchestra', ML 2156, Columbia Masterworks, Columbia Records, 1951 [Letterform Archive, San Francisco, CA]. Cover: Alex Steinweiss

#graphic design #typography #music #music album #vinyl #cover #alex steinweiss #columbia records #eugene ormandy #the philadelphia orchestra #fritz reiner #columbia symphony orchestra #1950s

[kvetchlandia]

Leonard Bernstein, Conducting the Columbia Symphony Orchestra and Playing Piano on George Gershwin's "Rhapsody in Blue," the St. George Hotel , Brooklyn, New York 1959

#Youtube

[citizenscreen]

Bernard Herrmann conducting the Columbia Broadcasting Symphony (CBS) Orchestra where he also served as musical director for ten years. I feel Herrmann’s radio work is overlooked, but it shouldn’t be.

#bernard herrmann #cbs radio

[thriftstorerecords]

Massenet: Scènes Alsaciennes (Orchestral Suite No. 7) Dimitri Mitropoulos Conducting The Minneapolis Symphony Orchestra Columbia Masterworks/USA (1949)

[camcorderrevival]

tagged by @purple-dahlias to shuffle my on repeat playlist ten times tyyyy!!! <3

- la tristesse durera (scream to a sigh), manic street preachers - new year, big joanie - les fleurs, minnie riperton - rhapsody in blue, george gershwin & columbia symphony orchestra - last night when we were young, frank sinatra - girl, the internet & KAYTRANADA - synthetica, metric - when we were writers, indigo girls - it never entered my mind, miles davis quartet - i'm on fire, electrelane

tagging anyone who wants to <33

#tbh the rest of the songs on there are all manics tracks. but that's my private business. #tag games

[dendre]

Ma 75 éve, 1948. június 21-én megszületett a nagylemez. A hosszanjátszó, 33 + 1/3 sebességű, mikrobarázdás 12″ vinyl, ami már akár 20 percnyi zenét is elbírt egyetlen lemezoldalán. Megváltoztatta a kultúrtörténetet. Megváltoztatta az emberiség történetét. Ez, itt fent, ez volt az első LP, ezen a napon adta ki a Columbia Records, amely cég kifejlesztette a technológiát. Bruno Walter vezényli a Philharmonic-Symphony Orchestra Of New Yorkot, Mendelssohnt játszanak (a hosszabik, b-oldalon is csak 13 és fél perc zene volt még rajta). Pár nap múlva érkezett egy Frank Sinatra 10″, szintén mikrobarázdán (szemben az addigi sellak és egyéb anyagú, tíz perc alatti lemezoldalakat elbíró gramofonlemezekkel) és aztán még pár nap, hét, hónap és év múlva jött még nagyon-nagyon sok másik. A legjobb zenehordozó felület, termék, nem lesz ennél tartósabb, szebb, meghatározóbb, legalábbis nem tudom elképzelni. Zene volt előtte is, lesz utána is, ha már nem gyártanak belőle többet a jövőben, de a zene fennmaradásában, alakításában mindennél fontosabb szerepe marad. Egészen más lenne az emlékezetünk, a gondolkodásunk a nagylemez nélkül. Nem csak a nagy zenerajongóknak, lemezgyűjtőknek, hanem nagyjából mindenkinek. 

#first vinyl 75th anniversary

[starqueen87]

Contralto singer Carol Brice was born in Sedalia, North Carolina on April 16, 1918 into a musical family. Eventually she became one of the first African American classical singers with an extensive recording repertoire. Brice trained at Palmer Memorial Institute in Sedalia and then enrolled in Talladega College in Alabama, where she received her Bachelor of Music degree in 1939. She later attended Juilliard School of Music between 1939 and 1943 where she trained with Francis Rogers. In 1943 Brice became the first African American musician to win the prestigious Walter W. Naumburg Foundation Award.

Carol Brice first attracted public acclaim at the New York World’s Fair in 1939 when she performed in the opera, “The Hot Mikado.” Her next major public performance came in 1941, when she sang at a Washington concert honoring the third inauguration of President Franklin Delano Roosevelt. Her brother, the pianist Jonathan Brice, was frequently her accompanist at concerts and competitions.

Ms. Brice’s Broadway career accelerated after World War II when her talent for both opera and musical theatre became apparent. In 1946 she received her first recording contract from Columbia Records for Manuel de Falla’s El Amor Brujo, which was performed with the Pittsburgh Symphony Orchestra conducted by Fritz Reiner. She sang with the Pittsburgh Symphony for all of 1946 and later performed as Addie in the New York City Opera’s 1958 production of Marc Blitzstein’s Regina. Brice remained with the New York City Opera until 1963. She performed with Volksoper in Vienna, Austria from 1967 to 1971 and the Houston Grand Opera from 1976 to 1977. She played Maria in the Houston Grand Opera production of Porgy and Bess. The recording of that performance won a Grammy and the entire show moved to Broadway where it won a 1977 Tony Award for Most Innovative Production of a Musical Revival.

Brice also had a successful career on Broadway. She played Kakou in the original Broadway cast of Harold Arlen’s Saratoga (1958) and Maude in the 1960 revival of Finian’s Rainbow. During the 1960s her numerous roles included Catherine Creek in The Grass Harp, Harriett Tubman in Gentlemen, Be Seated, and Queenie in Showboat.

While performing in Vienna in 1968, she met her husband, the baritone Thomas Carey. The couple had two children. Mr. Carey returned to the U.S. in 1969 to teach at the University of Oklahoma in Norman, and Carol Brice joined him there after another stint on Broadway. Ms. Brice officially joined the University of Oklahoma faculty in 1974. One year later she and her husband founded the Church Circuit Opera Company in Norman, Oklahoma. The company was renamed the Cimarron Circuit Opera in 1981 and continued until Thomas Carey’s death in 2002.

Carol Brice died on February 14, 1985 in Norman, Oklahoma. She was 66.

Source: Black Wall Street, Facebook

#Carol Brice #contralto singer #very talented #black history #women's history month #HERstory #knowledge is power

[plurdledgabbleblotchits]

Rhapsody in Blue (2017 Remastered Version) · Leonard Bernstein · George Gershwin · Columbia Symphony Orchestra ℗ 1959

#Rhapsody in Blue

[thecollectors-world]

Die geheimnisvolle Insel

Mysterious Island

1961

Im Mai 1959 kündigte Columbia an, einen Vertrag mit Charles Schneer abgeschlossen zu haben, um neun seiner Filme über drei Jahre zu vertreiben. Die Filme sollten unter anderem "Schlacht im Korallenmeer"(1959), "Die drei Welten des Gulliver"(1960), " Wernher Von Braun"(1960), "Die geheimnisvolle Insel"(1961), "Gentleman of China" und "Air Force Academy" umfassen.

"Die geheimnisvolle Insel" sollte die sechste Zusammenarbeit zwischen Schneer und Ray Harryhausen werden, beginnend mit "Das Grauen aus der Tiefe" (1955), "Fliegende Untertassen greifen an"(1956), "Die Bestie aus dem Weltenraum"(1957) und der dritte in Farbe, nach "Die siebente Reise des Sinbad"(1958) und "Die 3 Welten des Gulliver"(1960). Wie Sinbad und Gulliver sollte der Film in Spanien gedreht.

Das Drehbuch des Films basierte auf dem Roman von Jules Verne, der eine Fortsetzung zu zwei anderen Verne-Romanen war: "In 80 Tagen um die Welt" (1867) und "20.000 Meilen unter dem Meer" (1870). In dem Roman "Die geheimnisvolle Insel" trafen Flüchtlinge nach der Landung ihres Ballons auf der Insel auf viele Abenteuer, trafen auf Tom Ayrton, der auf einer benachbarten Insel gestrandet war, kämpften gegen Piraten und entdeckten, dass Captain Nemo ihr Wohltäter war und die Insel die Basis für die Nautilus war.

Die meisten Schauspieler des Films waren britische Schauspieler. Michael Craig stand bei Rank unter Vertrag, und Michael Callan war zur Zeit bei Columbia unter Vertrag. Percy Herbert wurde ursprünglich aufgrund seines britischen Akzents für die Rolle abgelehnt, erhielt sie aber nachdem er einen südlichen Akzent geübt hatte, indem er "Plötzlich im letzten Sommer" mehrmals anschaute.

Die Dreharbeiten begannen am 21. Juni 1960. Die Strandszenen in "Die geheimnisvolle Insel" wurden am Sa Conca Bay in Castell-Platja d'Aro in Katalonien, Spanien, gedreht. Die Flucht aus dem Konföderierten-Gefängnis - mit einem Beobachtungsballon - wurde auf dem Kirchplatz in Shepperton, England, gedreht. Die Innenräume wurden in den Shepperton Studios fertiggestellt.

Die Stop-Motion-Animations-Effekte wurden von Ray Harryhausen erstellt. Alle Modellwesen außer dem Riesenvogel (der später für "Gwangi's Rache" im Jahr 1969 wiederverwendet wurde) existieren immer noch.

Die Musik des Films wurde von Bernard Herrmann komponiert, der bereits die Musik für zwei frühere Harryhausen- und Schneer-Produktionen ("Die siebente Reise des Sinbad" und "Die 3 Welten des Gulliver") komponiert hatte. Die Musik wurde vom London Symphony Orchestra aufgeführt.

Ray Harryhausen entwickelte die Stop-Motion-Technik seines Lehrers Willis O’Brien zur Perfektion. Stop-Motion war lange Zeit wegweisend für Spezialeffekte beim Film. Harryhausen erweckte damit zahlreiche Fabelwesen, Dinosaurier und Geister auf der Leinwand zum Leben. Weltberühmt wurden unter anderem die Szenen aus den Sindbad-Filmen und die Kampfsequenzen aus Jason und die Argonauten.

#ray harryhausen #nostalgie #classic movies #adventure #mysterious island #1961

[married-to-a-redhead]

This music is helping me relax. This, and some excellent scotch.

#personal #glenn gould #Bach

[graceandfamily]

"Princess Grace Remembered" - Princess Caroline and Prince Albert of Monaco are guests of honor when First Lady Nancy Reagan narrates Saint-Saens' "The Carnival of the Animals" at the John F. Kennedy Center for the Performing Arts, Washington, D.C., in a special musical tribute to the First Lady of Monaco. The 90-minute special, featuring Mrs. Reagan and the National Symphony Orchestra, conducted by Mstislav Rostropovich, will air as a Great Performances' special Monday, September 26 at 9:00 p.m. (ET) over PBS. Also included in the concert are Samuel Barber's "Adagio for Strings" and Tchaikovsky's "Symphony No. 5." It is a co-production of Johnston Films, New York and International Film Productions, Philadelphia, and is made possible by grants from Exxon, public television stations, the Corporation for Public Broadcasting and the National Endowment for the Arts. It is presented by the Great Performance Alliance; WNET/Thirteen, New York; Kera, Dallas/Fort Worth; KQED, San Francisco; SCETV, Columbia, South Carolina; and Chicago. Jac Venza is executive producer for Great Performances.Photo measures 8 x 10.25inches. Photo is dated 09-26-1983.

#princess caroline #prince albert #nancy reagan #1983

[diceriadelluntore]

Storia Di Musica #243 - It’s A Beautiful Day, It’s A Beautiful Day, 1969

Il mese scorso il viaggio musicale ha riguardato le fantastiche traiettorie della musica kosmik tedesca tra fine anni ‘60 e inizio anni ‘70. Per Ottobre, mi è venuto in mente di fare un viaggio simile che riguarda gli stessi anni, ma spostandoci di migliaia di km, sulla costa occidentale degli Stati Uniti, precisamente sulla Bay Area di San Francisco. La città fu teatro di un’esplosione musicale francamente senza precedenti, che in una manciata di anni regalerà alla musica rock meraviglie stupefacenti. Rispetto all'avventura tedesca, qui la dimensione generale è decisamente maggiore, anche perchè San Francisco fu il centro nevralgico della controcultura americana degli anni ‘60, e fu così vasta che è possibile addirittura dividere i gruppi per zone della città (San Francisco Peninsula/North Bay, East Bay, South Bay). Alcuni nomi per la musica sono leggendari: Janis Joplin, Jimi Hendrix (che sebbene fosse di Seattle crebbe a Berkeley e suonò moltissimo in quei posti, che divennero leggendari anche grazie al suo successo), i Grateful Dead, i Jefferson Airplane, solo per citare i primi nomi che vengono alla mente. Come per altre panoramiche, anche stavolta però vorrei scovare anche delle storie secondarie, solo per fama, ma necessarie secondo me per capire a fondo uno dei momenti più interessanti della musica. Perchè anche quello fu un decisivo momento di rinnovamento, di commistione di nuove esigenze, che si trasferirono anche alla musica rock: una musica che univa le nuove esigenze espressive, che si apriva a dimensioni lontane (la fascinazione per le culture orientali, per il misticismo, le culture tradizionali), le mixa con i primi suoni elettronici, la creatività estrema, frutto anche dell’uso delle droghe, in una commistione anche di colori, scenografie, mode che diventerà l’apripista per la musica non solo come evento comunitario, ma creativo in tutto e per tutto. Inizio con la storia di una band che nasce nell’anno dell’Estate dell’Amore, il 1967. David LaFlamme è un violinista che ha studiato al conservatorio e addirittura ha suonato solista per la Utah Symphony Orchestra quando, a metà anni ‘60, parte per la California. Qui a San Francisco suona per la Electric Chamber Orkustra di Robert Kenneth “Bobby” Beausoleil, seminale gruppo della prima fase della musica della città, dimenticato da tutti poichè Beausoleil è tragicamente noto per essere complice degli omicidi di Charles Manson alla fine degli anni Sessanta. La Flamme incontra un produttore, Matthew Katz, che fu anche manager per i Jefferson Airplane e i Moby Grape, e uno dei produttori musicali artefici del “San Francisco Sound”. La Flamme mette su una band composta da Mitchell Holman (basso), Val Fuentes (batteria), Hal Wagenet (chitarra), Bruce Steinberg (armonica) e la particolarità di due donne, sua moglie Linda LaFlamme (organo, piano, celeste, harpsichord) e Pattie Santos (voce, tamburino, percussioni). Fu Katz a dargli come nome, di incoraggiamento, la bella espressione di It’s A Beautiful Day.  Ma la “giornata” non inizia granché bene: il produttore infatti non li considera ancora pronti per suonare nei teatri di San Francisco, e li manda a vivere a Seattle, dove sono la resident band del suo locale, Encore Ballroom, a cui cambia nome in San Francisco Sound. Sono mesi difficili, stipati in tre camere in una soffitta, che fu però lo spunto per una delle loro canzoni simbolo. Stufi dei soprusi di Katz, decidono di andare a suonare contro la sua volontà  ai primi festival musicali, e in una occasione, allo Sky River Rock Festival And Lighter Than Air Fair del 1968, dopo una meravigliosa performance, furono notati da alcuni produttori e invitati ad aprire il concerto dei Cream, al loro tour di addio, del 4 ottobre del 1968 all’Oakland Coliseum. È la svolta: abbandonano Katz e firmano un contratto per la Columbia. L’anno successivo esce il loro omonimo primo disco, It’s A Beautiful Day. Composto da 7 tracce, è uno dei dischi “dimenticati” più belli del periodo, espressione della capacità dei musicisti di muoversi con creatività tra i differenti generi, con echi di musica classica, jazz, folk, musica indiana e prog, con arrangiamenti fantasiosi e affascinanti, come un colorato caleidoscopio. Si apre con la loro canzone più famosa, White Bird, composta ai tempi di Seattle: scritta quando si sentivano come “uccelli in gabbia” è quasi un inno di speranza e liberazione (White Bird must fly/ Or she will die), dominato dal violino di David LaFlamme e la voce armoniosa e grintosa di Pattie Santos. Hot Summer Day è sognante e delicata, ma c’è subito spazio ad un cambio repentino di stile; distorsioni, suoni duri e acidi aprono la strada a Wasted Union Blues, brano che esprime quel suono “hard rock” che sarà uno dei semi che getterà l’intero movimento nel vasto campo della musica rock. Girl With No-Eyes è un classico esempio di quello che verrà ricordato come il suono californiano, anche in questo caso con l’aggiunta sorprendente del clavicembalo di Linda LaFlamme. La seconda facciata del disco si apre con una canzone strumentale, Bombay Calling, che all’ascolto lascia subito un’impressione: infatti, fu ispirazione (per molti addirittura plagio) per Child In Time dei Deep Purple (da Deep Purple In Rock, del 1970); c’è da dire che la band californiana fu entusiasta di quello strano omaggio, e prenderà a prestito Wring That Neck, da The Book of Taliesyn del 1968, per farne una nuova versione, chiamata Don And Dewey che apparirà nel loro secondo album, Marrying Maiden del 1970. Bulgaria è un altro brano in cui psichedelia e influenze classiche si fondono nella lenta progressione circolare del brano, nel  testo più mistico del disco: Set free all the love within you tonight/ Open up your mind / Go sleep on the moment you were born / And open up your mind / Go sleep on the moment time was born; il disco si chiude con la meravigliosa Time Is, oltre nove minuti di jam, assolo di batteria, giri di basso ipnotico, accelerazioni e repentini rallentamenti. Non si può dimenticare la meravigliosa copertina: disegnata da George Hunter e dipinta da Kent Hollister, riprende un quadro americano del 1912, Woman On The Top Of A Mountain di Charles Courtney Curran. Vi sono altre due piccole particolarità: il logo dell’etichetta discografica Columbia non era quello canonico ma una versione vecchia, e il retro del disco aveva una copertina di un gabbiano bianco in volo, in ricordo dell'ispirazione per White Bird ai tempi di Seattle. La rivista Rolling Stone la considera, in un articolo dedicato, una delle più belle copertine discografiche di tutti i tempi. La loro carriera continuerà con il già citato Marrying Maiden, con Fred Webb che sostituì Linda LaFlamme, e la partecipazione di Richard Olsen dei Charlatans, altra band della Bay Area, e del mitico Jerry Garcia dei Grateful Dead. Durano altri due dischi, senza grande successo, poi si sciolgono, e molti di loro intrapresero una carriera solista. Rimane questo disco, interessantissimo, a testimonianza della ricchezza creativa di quegli anni anche negli episodi commercialmente minori. Un piccolo gioiello da riscoprire. 

#it's a beautiful day #it's a beautiful day (album) #1969 #recensione

[citizenscreen]

Bernard Herrmann conducting the Columbia Broadcasting Symphony Orchestra in 1947.

#bernard herrmann

[thriftstorerecords]

Rachmaninoff: Symphony No. 2 In E Minor, Op. 27 The Philadelphia Orchestra Conducted by Eugene Ormandy Columbia Masterworks/USA (1951)

[lboogie1906]

Charles Dean Dixon (January 10, 1915 – November 3, 1976) was a conductor. He studied conducting at the Juilliard School and Columbia. When early pursuits of conducting engagements were stifled because of racial bias, he formed his orchestra and choral society. He guest-conducted the NBC Symphony Orchestra and the New York Philharmonic during its summer season. He guest-conducted the Philadelphia Orchestra and Boston Symphony Orchestra. He won the Ditson Conductor's Award. He left the US for the Israel Philharmonic Orchestra. He was the principal conductor of the Gothenburg Symphony in Sweden, the Sydney Symphony Orchestra in Australia, and the hr-Sinfonieorchester in Frankfurt. During his time in Europe, he guest-conducted with the WDR Sinfonieorchester in Cologne and the Symphonieorchester des Bayerischen Rundfunks in Munich. He made several recordings with the Prague Symphony Orchestra for Bärenreiter, including works of Beethoven, Brahms, Haydn, Mendelssohn, Mozart, Schumann, Wagner, and Weber. For Westminster Records, his recordings included symphonies and incidental music for Rosamunde by Schubert, symphonic poems of Liszt, and symphonies of Schumann. He recorded several American works for the American Recording Society in Vienna. Some of his WDR broadcast recordings were issued on Bertelsmann and other labels. He introduced the works of many American composers, such as William Grant Still, to European audiences. During the 1968 Olympic Games, he conducted the Mexican National Symphony Orchestra. He returned to the US for guest-conducting engagements with the New York Philharmonic, Chicago Symphony Orchestra, Detroit Symphony, Milwaukee Symphony, Pittsburgh Symphony, St. Louis Symphony, and San Francisco Symphony. He served as the conductor of the Brooklyn Philharmonic, where he gained fame for his children's concerts. He conducted most of the major symphony orchestras in Africa, Israel, and South America. His last appearance in the US was conducting the Philadelphia Orchestra in April 1975. #africanhistory365 #africanexcellence https://www.instagram.com/p/CnO8yZGrMgs/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

[posttexasstressdisorder]

Monday Evening Classical

If you are old enough, you may remember a “classical music club” a-la Columbia House, but these were what were considered exceptional performances, pressed on VERy quiet vinyl, and with VERY bare-bones black and white covers. I’m talking about The Musical Heritage Society.

Like the other “record clubs”, they sent you an album a month, unless you don’t want it, then you just decline.  Almost every single recording on a Musical Heritage Society label is considered to be one of the best ever recorded.  They had “nobody” orchestras sometimes, and unknown soloists, although, yess indeedy, Neville Marriner and The Academy of St. Martin In The Fields had a few titles chosen for Musical Heritage Society.

The idea being THE MUSIC IS WHAT MATTERS HERE, not the cover.  If you need a cover to sway you into buying a recored, you’ve been had most of the time.  The idea extended into the CD age, and I’ve got some very excellent Beethoven Symphonies and Mozart Wind Concerti, and Bach Brandenburgs on Musical Heritage CD.

So, no frills, just awesomely performed classical music.

Tonight’s selection is played by The English Chamber Orchestra, conducted this time around by Enrigue Garcia Asensio, in the String Serenades by Tchaikovsky and Dvorak, two of my favorite pieces.

I’ve heard many recordings of both of these pieces over the years.  Some absolutely dreadful, some lilting and on the verge of taking flight, like spring rising up to meet the sky.  This recording belongs, thankfully, to the latter category.

My go-to recording of each of these has ALWAYS been Neville Marriner/ASMF, hands down.  Maestro Asensio certainly makes the English Chamber Orchestra seem to almost take flight...the waltz sections are, well, LILTING, it’s the best word.  The dynamics and phrasing are energetic and at times playful. 

A delightful recording, in every aspect.  It deserves to be on MHS, definitely!  If you know and love these pieces, you will have a new favorite recording, if you can find it.

#music #musical heritage society #classical music #tchaikovsky #antonín dvořák